Yay, I have always loved this impromptu! It's not very easy either; quite a bit of it is awkward. Overall your playing is very nice. I don't have my headphones right now so I probably need to listen again later for better sound quality (and I'll have a listen at the mazurka then too), but if I had to criticize one thing I'd say it comes off as a little bit too deliberate most of this time, as opposed to the whimsical character in A. I think that part of that is your piano, though. I've noticed over the years listening that your piano has a very wooden sound, what Chopin might call 'too insistent' (which was his opinion of Erard pianos and the general German style of building them, hence his preference for the Pleyel). But I think part of it is also a matter of touch (some might say tempo, but I think that is only a small part of it). Of course, after years of playing on one piano, it's bound to affect your playing pretty profoundly.

Thank you for listening/commenting, Theresa. I didn't know that my piano sounded woody; that's a new one of me. I always work so hard in trying to produce the best sound I can with what I've got (piano, recorder, editing programs) and thought I had things sounding okay. But now my crummy playing is enhanced by my piano, or my crummy piano is enhanced by my playing - either way I am saddened...

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

@ the impromptu: I liked the whirling and lyrical elements you brought out in the piece. About your piano sounding wooden, I think it could be a function of the reverb, as if you played this piece on the same piano in a concert hall (or even adjusted this same recording to concert hall in an editor) it might sound a little spacier, in a way, otherwordly.

I guess it depends on what a listener likes to hear: closeness of the piano or a piano farther away like its in a much larger space. I think in this piece, that is, this recording, the closeness is ok because the shifting gravity of the melody communicates almost a different reality, while the closeness of the piano reflects that this is imagined and not in fact real. For some reason this piece reminds me of Schumann's Op.21 Noveletten no. 4. They both have lyrical parts to them, so that's probably it.

@ the mazurka: I don't remember if I heard your first version but this remake sounds good. I like the contrast in dynamics of the grace notes and the notes they immediately follow. Another lyrical piece. I think I hear tuplets and if so, they must have been hard to play. Especially at tempo for this piece. Maybe make the B section a little slower to contrast the quick A section even more.

Riley

-------

"I play Bach gladly... but I do not recognize him (as some do) a great genius."-Pyotr Tchaikovsky

Thank you for listening/commenting, Theresa. I didn't know that my piano sounded woody; that's a new one of me. I always work so hard in trying to produce the best sound I can with what I've got (piano, recorder, editing programs) and thought I had things sounding okay. But now my crummy playing is enhanced by my piano, or my crummy piano is enhanced by my playing - either way I am saddened...

No dear, my playing is 'crummy'. Not yours. I am probably just picky on piano sound cause I get to play on a Steinway a lot.

(Dang, I accidentally closed the tab and lost everything I had just written.)

First, I thought that both performances were lovely. I have always adored that Mazurka for Chopin's writing that "wrong" note at the end of the main theme.

Your performance of the Impromptu does it justice. You do a beautiful job of conveying that swirling, twirling, waltz-like outer sections.

The middle section I believe would do better with a more relaxed, less insistent tempo. The marking is "sostenuto" in each of the editions on IMSLP (unfortunately I don't have an urtext or even the Paderewski ed. available). Here is what the Dolmetsch dictionary has to say about "sostenuto": (1.)(Italian) used alone as an tempo indicator, sostenuto means the same as andante cantabile" (4.) "(a passage) played in a cantabile style". It is thus a tempo indication. In fact it is placed in the "tempo" position above the system in all but one edition on IMSLP (granted all four could represent variations on the same source.) Also, if you compare it with no. 3, which also begins with a perpetuo moto triplet section, its middle section is also a more lyrical section marked "Sostenuto". In the posthumous Fantasy-Impromptu, the "I'm Always Chasing Rainbows" section is marked "Moderato Cantibile."

Anyway, a more relaxed tempo will allow you to play those detached bass notes (I think that he is somewhat thinking of the light sound of pizzacato bass viols and not necessarily "marcato") with greater ease and less fuss.

One other thing, each edition marked the passage between the turn that begins with the 3 Bb's and the longer sixteenth note fioratura with a rit. or ritenuto. I would like to hear more relaxation in the tempo which I believe would give even greater impact to the fioratura.

Monica,I have to admit that I don't know these works (I'm not big into the "dance" works of Chopin, shameful I know) but I do like very much your performances here, especially the Mazurka. It had a very nice character to it. You did a fine job of voicing. If anything, maybe a little more rubato where appropriate to give it some increased ebb and flow. (Man, you're a recording queen!)

Regards,Eddy

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Thanks for listening/commenting Riley, Scott, and Eddy. I really like this little mazurka because of its quirkiness, and my interpretation here is pretty well set now – I can’t play it any other way. But Scott, what you said about the Impromptu, specifically the middle section is very interesting. I’m too embarrassed to say what edition I was reading from, but I don’t recall seeing ‘sostenuto’ written there. But that doesn’t mean much, because I miss a lot of markings – my former teacher used to point them all out to me and I was a little shocked at myself for not seeing ‘everything’. Anyway, as I was playing/recording this piece, a little voice in my head was telling me that this middle section should go a bit calmer and I should have taken heed. Thanks for pointing this out to me – especially if ‘sostenuto’ is actually in my score, then I made a big boo-boo and will need to re-record at least the middle section.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Well here it comes, my first comment on PS.I am used to give my replies rather by talking, so I will need to practice writing.Hope I don´t use the wrong words and end up saying something terrible and mean

I find the Mazurka nicely played, very straight and in line.My opinion is you could be more free with using the pedal, just generally more.

Since I have not listend to the Impromptu I cannot say anything there jet.

Thank you for listening to my mazurka, Julian. You did just fine with your writing; nothing terrible or mean. Don't worry, we are fairly tolerant regarding language difficulties. Unless you say something very funny - then we will probably tease you.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Hi Monica, it seems that you've played these pieces for a long time... haven't you? Everything seems to fall into your hands so nicely. And I liked the vividness of these performances a lot. One thing I could say, to be critical in a constructive way , is that in the impromptu I sometimes hear disconnections of phrasing between two bars, which could be bound in a phrasing, and get from it the impression of a slight hurriedness. But I didn't play it myself, so that was really my two cents (or one cent? ).

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

Hello Hye-Jin. Thank you for listening/commenting. I have played the mazurka for a long time, but not the impromptu. Although, I did have to work hard on it, because there really are a couple tricky spots. I know exactly which phrases you are talking about that aren't as smooth as they should be. It's all because of the 'club' - our 'Pianists with Small Pinkies" club. I couldn't reach those places and to jump around a lot. Supposedly, Chopin had rubber fingers and could reach these places with no problem. I wish I could get some of that rubber!

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

It's all because of the 'club' - our 'Pianists with Small Pinkies" club.

Then I withdraw my "two cents"! There seems to be things which cannot solved by our small hands Did you perhaps see the thread titled with "Help!!! (Brahms op.120-2)" on the "Technique" forum which I opened? It's about the problem of that "club" and I was very surprised at the commiserations from other members (I attached pics of my RH struggling with large chords there)

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

I listened to the Impromptu and believe you produced a fine rendition there. Your articulation seems flawless, you bring a wonderful fluidity to the music, and you had a good control of dynamics too. You brought out the playfulness of this music very well. Very nice!

Chopin's dance forms don't appeal to me as much, so I didn't get to the mazurka yet... although tonight I posted Ravel's take on Borodin's "Polovetzian Dances". OK, don't even think about asking me to explain myself on that one!

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Hi Monica, I listened to the Impromptu as I used to play it a long time ago. It's clear and precise, though there are points where I would opt for a bit more in the way of dynamic (and hopefully emotional) expansiveness, in particular in the middle section. Sometimes I think it's perhaps a little metronomic and more rubato would help: an impromptu is originally in sense an improvisation. In no way is it a bad recording; it's well presented and professional, I personally would play it in a freer manner.

Hi Andrew. Thank you for the feedback. I didn't understand about the middle part before when I recorded this. But thanks to you and some others here, now I know and have marked it in my score for future re-record. Thanks again!

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

This mazurka is one of the more popular ones in Chopin's collection. You execute all of Chopin's "detail work" in the right hand crisply and fit it all into the melodic line accurately and smoothly making it sound effortless. A fine performance!

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I was familiar with the mazurka, knew it was a fairly short one, and that you would likely play it quite well. I was right. Trying to get that characteristic rhythm just right would be difficult, so I stay clear of them leaving them all to you. I love the preludes, etudes, nocturnes, ballades, scherzos, and polonaises but have never taken a shine to those mazurkas.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I've been thinking in recording all the four impromptus. But I've only been thinking. Too lazy for that!

I don't have much time, so I listened only to your impromtu. I'm very impressed! It sounds really nice, spontaneous and vivacious.Thanks for keeping the correct strong beat at 46'' (most recordings make the strong beat disappear).

I'd say only that the middle section is maybe too straight, and sounds less of what I'm used to hear from Chopin. Can't say what it is exactly (maybe a darker atmosphere, don't know). Same for the coda.

I've been thinking in recording all the four impromptus. But I've only been thinking. Too lazy for that!

I don't have much time, so I listened only to your impromtu. I'm very impressed! It sounds really nice, spontaneous and vivacious.Thanks for keeping the correct strong beat at 46'' (most recordings make the strong beat disappear).

I'd say only that the middle section is maybe too straight, and sounds less of what I'm used to hear from Chopin. Can't say what it is exactly (maybe a darker atmosphere, don't know). Same for the coda.

Nice recording!

You mean you are not at the beach?

Thank you for listening, Felipe. I am also too lazy to learn the other three Impromptus....

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Hi Monica, very nice indeed! Some have remarked where some passages are not as smooth. I haven't learned this piece, but like many other Chopin pieces it's difficult to play legato with fluidity and make all the parts fit seamlessly to tempo. Don't harp on the small pinkie syndrome - you're not the only one.

A piece like this really depends on the action of the piano and a légère style of legato. Just like Chopin's fingers, if the action is supple, it will reward you. If the action is not totally responsive, playing such a piece smoothly is more awkward and requires more effort. More effort leads to tightening of the wrists, and that in turn leads to jerky movements. I remember on my parents Bradbury while growing up, the action was stiff, and it would be next to impossible to play a piece like this and have all the passages come together smoothly.

You are at the point where with a little more playing the fluidity will come in time. These kind of pieces demand continual performance to have it sound fresh and legato. Now that you've recorded the piece and there's no more pressure, I bet you a trip to Paris that you'll be the queen of legato with this piece if you keep on playing it...

Nonetheless, a beautiful recording of a delightful Impromptu!

_________________"Nobility of spirit has more to do with simplicity than ostentation, wisdom rather than wealth, commitment rather than ambition." ~Riccardo Muti

Hi Monica, very nice indeed! Some have remarked where some passages are not as smooth. I haven't learned this piece, but like many other Chopin pieces it's difficult to play legato with fluidity and make all the parts fit seamlessly to tempo. Don't harp on the small pinkie syndrome - you're not the only one.

But I gotta harp on something!

88man wrote:

You are at the point where with a little more playing the fluidity will come in time. These kind of pieces demand continual performance to have it sound fresh and legato. Now that you've recorded the piece and there's no more pressure, I bet you a trip to Paris that you'll be the queen of legato with this piece if you keep on playing it...

You know...my Paris trip is still on for next year. If I could get you to pay for it, that would be terrific! Okay....I'll keep practicing...

Quote:

Nonetheless, a beautiful recording of a delightful Impromptu!

Thank you, George.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Hi Monica, very nice indeed! Some have remarked where some passages are not as smooth. I haven't learned this piece, but like many other Chopin pieces it's difficult to play legato with fluidity and make all the parts fit seamlessly to tempo. Don't harp on the small pinkie syndrome - you're not the only one.

Hi Monica, very nice indeed! Some have remarked where some passages are not as smooth. I haven't learned this piece, but like many other Chopin pieces it's difficult to play legato with fluidity and make all the parts fit seamlessly to tempo. Don't harp on the small pinkie syndrome - you're not the only one.

But I gotta harp on something!

That's it. You were playing the HARP. Practicing for heaven.

I love the harp! I am reminded of going to Marshall Fields on State Street in downtown Chicago every Christmas. There was always this beautiful woman playing a harp in one of the lobbies. She had long, golden hair and played a bejeweled golden harp and she even had on a long, gold gown. I was memorized every time I watched her play.

But you want to know what's funny? The first thing that came to my mind when I read your comment, Scott, was that I was playing a jews harp!

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

I love the harp! I am reminded of going to Marshall Fields on State Street in downtown Chicago every Christmas. There was always this beautiful woman playing a harp in one of the lobbies. She had long, golden hair and played a bejeweled golden harp and she even had on a long, gold gown. I was memorized every time I watched her play.

But you want to know what's funny? The first thing that came to my mind when I read your comment, Scott, was that I was playing a jews harp!

(I think you meant "mesmerized" {Vocabulary Police here}).

Ahhhh, Marshall Fields on State Street, that Great Street. I always loved going there when we would take the train up to visit relatives. We would always eat in the Walnut Room. Did Macy's keep the Walnut Room?

Now I have the full picture. You in your long, golden gown (with golden slippers, I am sure) and your long, golden hair playing a bejeweled jews harp playing "Silent Night", "Away in a Manger", and "Jingle Bells."

Oh you guys.... I was trying to be so careful last night when I wrote that, but I did drink a little merlot beforehand, so...well...you know....

My bejeweled jews harp .

Yes, the Walnut Room is still there - complete with the tall Christmas tree and Jimminy Cricket on top (or whatever the heck that little guy's name is....must be the wine again....we're celebrating right now because finally Osama Bin Laden is gone!!!!) ( I dont' think I'm going to feel too well at work tomorrow....)

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Oh you guys.... I was trying to be so careful last night when I wrote that, but I did drink a little merlot beforehand, so...well...you know....

My bejeweled jews harp .

Yes, the Walnut Room is still there - complete with the tall Christmas tree and Jimminy Cricket on top (or whatever the heck that little guy's name is....must be the wine again....we're celebrating right now because finally Osama Bin Laden is gone!!!!) ( I dont' think I'm going to feel too well at work tomorrow....)

BTW Monica,You were the means by which I learned last night that we got OBL! I Called my wife (visiting in California) rightaway, proving that all the time I spend on PS is definitely worth it!

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Guess I am the town crier. But OMG I'm so glad I typed the right words. I was at my computer (listening to piano music, of course), when the news broke. My son called to me from downstairs saying, "Obama has been killed!" I was completely stunned and really in shock

So then I finally ran downstairs to watch the television and my goofy son said that he meant to say Osama, not Obama.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

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